Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Equatorial Guinea and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Bremen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Charles Mingus to the grime kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Avey Tare & Kría Brekkan. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Joey Negro,
Kas Product,
Kool Moe Dee,
Alice Coltrane,
Donald Byrd,
Neu!,
La Düsseldorf,
Oppenheimer Analysis,
Grandmaster Flash,
Section 25,
Guru Guru,
Jerry Gold Smith,
Lou Reed & Metallica,
Teenage Jesus and the Jerks,
Roxy Music,
The Standells,
One Last Wish,
Louis and Bebe Barron,
Inner City,
Eli Mardock,
PIL,
The West Coast Pop Art Experimental Band,
Jesper Dahlback,
Spoonie Gee,
Liaisons Dangereuses,
James White and The Blacks,
World's Most,
Jacques Brel,
Cecil Taylor,
Althea and Donna,
The Black Dice,
A Flock of Seagulls,
The Electric Prunes,
Soft Machine,
The Names,
Audionom,
Black Sheep,
Echospace,
Lalo Schifrin,
Kurtis Blow,
The Litter,
Skarface,
Susan Cadogan,
Model 500,
Wighnomy Brothers & Robag Wruhme,
Kevin Saunderson,
Arab on Radar,
Notorious BIG live in Amsterdam,
Aural Exciters,
The Monochrome Set,
Monolake,
The Gories,
Drexciya,
Peter & Gordon,
the Sonics,
Eric Dolphy,
Hot Snakes,
Rahsaan Roland Kirk,
Sex Pistols,
Brand Nubian,
New Age Steppers,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.